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Liz Rundorff SmithMajor (abstract, bright colors, yellow, blue, layers)2021
2021
About the Item
Gouache on paper
13 x 9 inches unframed
23.25 x 19.25 inches framed
Rundorff Smith deals with central shapes that she develops by referencing urns, shrines, burial mounds and places of veneration. As a current resident of South Carolina, she associates cemeteries, particularly locations in the South, as spiritual spaces of veneration. Her paintings are reliquaries for memories. Urns are vessels to hold ashes while also acknowledging life—what we mourn and what we celebrate.
In the exhibition at SEFA Hudson, Rundorff Smith presents the latest in her series entitled “Trophy.” These small scale encaustic paintings are hung in a grid that mirrors the geometric patterns within each piece. The artist works in layers by melting and combining pigmented wax to create a literal history on the materials’ surface, while simultaneously implying the personal story that each vessel is meant to hold. Rendered in colored wax from sky blue to bright pink to vibrant yellow—a rectangular pattern blankets many of the paintings.
This patternation references the constructions of Rundorff Smith’s father, a builder. Thus, the “Trophy” paintings are manifested into small awards to herself. They are an acknowledgement of her own successes and of the care and work that she does to ensure her daughters are raised differently than herself. She states: “I get into the grid and I lose the state of structure because it is fascinating to destroy the grid itself.” She memorializes her childhood and she leaves other elements behind.
Rundorff Smith is interested in kitsch as an accessible form of beauty, related to the aesthetics of her youth. The nostalgic color choices and build up of encaustic is reminiscent of mid-century American decor. In recent paintings like Good Girls, the artist added fringe to the bottom of the canvas. This tactile embellishment plays into kitsch, reminiscent of party decorations, parade floats and prize ribbons—elevating the vessel to something to be celebrated. Patterning, grids, reflected and mirrored vessels suggest the artist's need to nurture the painting through repetition. It is a means to transfer the desired memories and emotions. The artist associates the vessels with her two daughters—or herself and her sister. While many of the forms are repeated, they are never perfect copies. Color is allowed to bleed; lines cut off; previous marks shine through both paper and encaustic pieces. This undulation between symmetry and irregularity creates a need to examine every inch.
- Creator:Liz Rundorff Smith (American)
- Creation Year:2021
- Dimensions:Height: 13 in (33.02 cm)Width: 9 in (22.86 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU16814341612
Liz Rundorff Smith
Liz Rundorff Smith currently lives and works in Greenville, SC. She received a BA in Studio Art with a concentration in sculpture from the College of Wooster in Wooster, OH and an MFA in Painting from Edinboro University of Pennsylvania. Rundorff Smith studied abroad at The Marchutz School of Painting in Aix en Provence, France and the British Institute of Florence in Florence, Italy and was awarded a fellowship and residency at the Virginia Center for Creative Arts. Her work can be found in private and corporate collections including the Marilyn Monroe Bungalow at the Beverly Hills Hotel and Sun City Showa Kien Koen, Tachikawa, Japan. Rundorff Smith is a member of the Painting Center Art File in New York. Her work has been featured in Southern Living and Create Magazine Issue 20. Recent exhibitions include the two-person show Counterbalance at Susan Eley Fine Art New York, NY, The Shape of Things at 701 Center for Contemporary Art in Columbia, SC and the 2021 Every Woman Biennial in London, UK.
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“As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters.
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Resume:
EDUCATION
Master of Fine Arts in Painting
Bard College 1986
Bachelor of Science in Art History
State University College at New Paltz 1977
Additional Study: New York Studio School (Drawing Marathons)
Columbia University, School of Architecture
Women’s Studio Workshop
TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie,NY
Coordinator, Interior Design Program, Florence, Italy campus 1992-present
AWARDS
Finalist, “Saatchi Showdown” 2010
Invitational Award for Outstanding Contemporary Talent,
University of Bridgeport, CT 2000
Purchase Prize, “11th National Juried Exhibition”
College of Notre Dame of Maryland, Baltimore 1999
First Prize, “Women in the Visual Arts ‘95”
Erector Square Gallery, New Haven, CT 1995
Joseph A. Cain Memorial Purchase Award for Sculpture
Del Mar College, Corpus Christi, TX 1994
Honorable Mention, “National Juried Exhibition”
University of Bridgeport, CT 1993
Individual Artists Fellowship in Sculpture
Dutchess Arts Fund 1992/93
Tallix, Morris, Singer Internship in Sculpture
Tallix Foundry, Beacon, NY 1990/91
SELECTED JURIED/INVITATIONAL EXHIBITIONS
2016
“Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD
2015
“Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY
“Gridspace”, KMOCA, Kingston, NY
“Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Assuming Identity”, NY Institute of Technology, New York, NY
2013
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“Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY
Stone Canoe/Community Folk Art Center, Syracuse, NY
2012
New York Institute of Technology, New York, NY
“Contemporary Painters (Who Just Happen To Be Women)”,
Carrie Haddad Gallery, Hudson, NY
“Strange Glue: Collage at 100”, Cambridge School, Weston, MA
“Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY
“Fresher Paint”, Rockland Center for the Arts, Nyack, NY
Courthouse Gallery, Lake George Arts Project, Lake George, NY
2011
“Process+Content: Donise English”, Vassar College, Poughkeepsie, NY
“Donise English-Paintings”, Orange County Community College, Newburgh, NY
“Gender Matters/Matters of Gender”, Freedman Gallery,
Albright College, Reading, PA
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“Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY
“Spring Awakening”, NY Institute of Technology, New York, NY
“Clay City Dreams”, NY Institute of Technology, New York, NY
“Texture, Pattern, Fragment”, Krause Gallery, Moses Brown School Providence, RI
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“Collage”, NY Institute of Technology, New York, NY
“Working in Wax”, Bedford Gallery, Walnut Creek, CA
“Encaustic 2009”, College of New Rochelle, NY
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“Convergence: The Human Experience”, Howard County Center for the Arts, MD
2008
“Suckers and Biters: Love, Lollipops, and Exquisite Corpse”
Chashama Gallery, New York, NY
Carrie Haddad Gallery, Hudson NY
2007
“Patterns and Light”, Blue Hill Gallery, Blue Hill, ME
“Suckers and Biters”, AG Gallery, Brooklyn, NY
2006
“100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY
“On/Of Paper”, Kirkland Art Center, Clinton, NY
“The Love Show”, Manchester Community College, Manchester, CT
2005
The Soap Factory, Minneapolis, MN
“Small Tales”, Valdosta State University, Georgia
National Juried Exhibition, Art Institute and Gallery
Salisbury, MD, Juror: Stephen Haller
“Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY
2004
“Women in the Middle: Borders, Barriers, Intersections”
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“Girl Art Now”, Hera Gallery, Wakefield, RI
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“The Feminine Eye”, Bradley University, Peoria, IL
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